The choreography looks like a steroid-fueled hybrid of Graham-based agony and the precision and fluidity of classical ballet. …nothing succeeds like excess…
Full press release, plus useful resource links, pictures and a video to remind us all why she is so good…
A tribute to Nina Ananiashvili – with personal memories – on her 50th birthday.
The Mariinsky Ballet’s annual Baden-Baden tour is something of a balletomane’s winter retreat and, with mild weather to boot over Christmas, provided yet another opportunity this season to catch up with the St. Petersburg company.
It was a program that harkened back to the big international Galas of previous years, as well as a nice reference to the company’s first years, when artists including Sonia Arova, Erik Bruhn, Margot Fonteyn and Rudolf Nureyev guest-starred.
That said, the company is still on top form. The corps de ballet is flawlessly unified technically, stylistically and musically down to their eyelashes.
Ratmansky’s vision of Cinderella is bracingly fresh, and the ballet’s harsh, urban setting and grotesque choreography seem suitably attuned to Prokofiev’s darkly sardonic score. His concept, however, does not succeed completely.
The Cuban schooling of Hopuy is impressive and his variation was expertly danced, including the trademark Cuban flicking over of the take-off leg in a jeté en tournant…
Tonight’s premiere of Ratmansky’s newest work for American Ballet Theatre, Symphony #9, was cause for celebration. In fact, it left me feeling almost lightheaded, and terribly eager to see it again, as soon as possible.
Who are your favorite choreographers? 1. “Christopher Wheeldon. He picked me for the first ballet I had created on me .. and I have worked with him on every single work he has done since I joined SFB.”
The best thing about being at SFB is that I got to work with so many choreographers. It inspired me so much.
Aimée Tsao, watching San Francisco Ballet for over 35 years now, with a general primer on the company and some thoughts on the repertoire they are bring to London in September 2012…
I don’t regret spending two afternoons in the warm sun before the unbelievably early performances ( 6 and 6:30 curtain times), but overall, the dancing, no matter how artistic or technically accomplished, is seriously hindered by the productions and/or venues.
With its exquisite staging, and most importantly with its understanding and respect of the Romantic ballet style, and whole-hearted dedication of the dancers to their roles, the Paris Opera Ballet demonstrated just how Giselle should be produced and performed.
The Bolshoi’s new Coppelia was heavenly fun. Vikharev’s production brought to the fore the Russian ballet tradition of expressive pantomime and spirited ensemble dances.
Kochetkova and Domitro, together and separately, dance extraordinarily well. They don’t have the elusive chemistry that she has with Boada, but they still are very much in tune with each other, both musically and artistically, and make a very satisfying partnership.
A highlight of the Mariinsky Festival this year was a performance dedicated to the Mariinsky prima ballerina, Diana Vishneva…